Mountaga Kantéka Fane, copyright 2009
If the Internet has revolutionized the world of information by breaking the yoke of corrupt journalists, he also became the place of all abuses. Especially disinformation! Thus, the first come, under cover of anonymity, dares to make remarks that he would never openly. So is there any "CRITICAL" LITERARY IMPROVISED, indulging in a kind of DICTATORSHIP OF IGNORANCE, imposing their own limitations and shortcomings as a measure.
In this regard, I have read on the website "grioo.com" comment on my book Odysseys''black''I will divide into 4 points in order to highlight the NONSENSE:
- First, this anonymous "critic", writes: "This story is exuberant, prolific where considerations biographical author are also widely discussed is that studied the same subject About ... "
- Then he made this confession of failure:" In this profusion of digressions invective was sometimes a little difficult to follow the basic fabric of the''story''. "
- After this onslaught of vilification and half-confession, he hastens to make this dramatic change:" But then what story! reversing itself on the merits, even if for each form will according to his tastes "
- It ends with this note of megalomania:" In fact, all that fuss and say that I I made a small note reading here. And he refers to this link:
http://www.afrocentricite.com/2009/04/soundjata-ou-la-controverse-manden/
One may first ask why this gentleman give Does he bother to make a "note reading" a book he has "trouble ahead"? Should we venture on a subject that has not tamed? And on this site "Afrocentric" in fact "note reading," the "critical" improvised's double speak on his behalf taking my revelations to destroy the work of Djibril Tamsir Niane, an attempt to study COMPARATIVE under the misleading title of "Mandingo CONTROVERSY. Misleading title, because in this case there is no "controversy", as discussed at the end of this clarification.
So this anonymous "literary criticism", posing as the great arbiter of an imaginary controversy, blowing hot and cold, occasionally engaged in his own speculations. And, PARADOX, he who claims that "the author's biographical considerations" are further analyzed that the purpose of connection "does not even exhaust the" object of regard "decreed by him, borrowing UNFORTUNATE SHORTCUTS ...
Apart from the appearance of such DEFAMATORY speculation and psychological motivations, one can wonder if this anonymous "critic" really understood the book that purports to analyze. And so I see myself in the need for this FOCUS.
ABOUT "ABOUT THE SAME SUBJECT"
This anonymous and malicious criticism improvised by the nickname of Klaha POPO, wanting to play the pedant, is a deplorable display of its shortcomings. When he speaks of "the very thing about" (My book), the same multiple titles of my work is a first objection to his speculation. Just the mention ODYSSEY''''(which invites an exploration) should prompt more caution. Add to that the plural used in the generic title''BLACK ODYSSEY.'' Then comes the title of the first volume''LOVE AND MEMORY Underworld.'' Again, the word "love" is mentioned in the plural and adds to "brief". Finally, a sub-title adds to this:''SOUMAHORO AND THE HAND OF DEATH OF A Myths.''
It's been a lot of topics so that we can still venture to speak of an "object ABOUT THE SAME" ...
Yet this is pedantic man contradicts himself by describing the work of "prolific" and Speaking of "wealth", while complaining that "the very thing about" not enough "studied". How can he speak of prolific work and wealth, expecting "an object about the same? Why does he speak no more "OBJECTS OF THE BOOK? He ignores this point the meaning of the adjective "prolific "(A synonym for" fruitful "and" multiple "). He ignores the word "wealth"?
This is to say that this book, as indicated by its various titles, talking about several things. And that is why it is divided into 5 parts including an introductory section entitled''Confidant DJINÈFOLO''and four other subdivisions: BOOK I (''the narrator of the Underworld), Book II (''AT CONFLUENCE TWO RIVERS'') BOOK III (''SOUMAHORO HAND AND FALL IN THE INVISIBLE UNIVERSE FROM ACROSS THE WORLD''), BOOK IV (''DEATH THE MYTH SONJATA''). This set is bound by a common thread that leads to the collapse of the legend built around the Mandingo Sonjata mythological character (''Lion Thief'').
ONE PAGE HISTORY WHICH IS TRANSFORMED INTO ANOTHER ODYSSEY
When the "critical" Klaha Popo says its "hard to follow" the story is a confession of his own limitations and difficulty concentrating or appropriation of a written text. Because from the first page of the book, it is stated that: "This story is a ''TRAP''HISTORY where incidentally a writer of dark memories, lost for several months in the writing of a truculent and extraordinary LOVE STORY experienced by one of his friends, finds himself suddenly catapulted - that's the word - by a Hand Hidden in the turbulent river THOUSAND YEARS OF HISTORY indigestion (thousand years of shipwreck) ... "
And also on the 4th cover herself:"''The past is never dead, it is even not passed. ,''Wrote William Faulkner . And the truth obscured by the official version of history, giving unfair winners of the day always ends up one day emerge. The journalist-writer Mouroudian Massakèla Kant - the Grands Chefs - the learned to his cost when the Invisible Hand of his legendary ancestor Soumahoro Kant, God-civilization, surprised at the turn of ODYSSEY OF YOUTH and propelled in the rushing waters of a particularly bloody period of HISTORY OF THE BLACK MAN "
We can not be more clear on the plot of this story. In other words, this is the story of a narrator who, trapped by a mysterious beneath LOVE STORY that he was writing, and wanting to open a simple historical parenthesis, incidentally, is embedded in MULTIPLE odyssey that intersect and collide, parallel universes that overlap, and turns it into a formidable INVESTIGATING HISTORY, guided by an invisible hand. So it
multiple objects that the anonymous "critical" calls "biographical considerations of the author." Considerations without which this work would simply not exist. And this is also mentioned on the first page of the book and explained in particular Book II, entitled''THE confluence of two rivers'' (Two rivers of the same story, one visible and one invisible). This clarification has been understood even by READERS OF 13 YEARS, originating ... QUEBEC!
What he calls "digressions" are an integral part of these black Odysseys. And what he calls "invectives" that are replicas of insulting and defamatory from the falsification of history that can be counted as among the Leukoderma that among black Africans themselves (which inspired the writer Ivorian AMADOU KOUROUMA this unfortunate sentence: "The Negroes are born deceptive ... "(sic).).
ABOUT "THE AUTHOR BIOGRAPHICAL CONSIDERATIONS"
When the anonymous "critical" refers to "the author's biographical considerations, what does he mean by" author "? Since this book involves the author THREE CHARACTERS Mountaga Kantéka Fane (which only occurs early in the section titled''Warning''the author by way of preface), the character DJINÈFOLO (the instigator of the story which a few excerpts from the diary were published) and the narrator and investigator MOUROUDIAN Kant.
And it is these two characters - and Djinèfolo Mouroudian - who engage in this story. Their dreams, memories or flashbacks to the narrator as tools to penetrate Mouroudian Kant hidden history of their common ancestor. And these tools are faced with other less personal sources in unprecedented investigation based on an extensive literature (both oral and written) to decode the Mandingo oral tradition, break the code of silence that had prevailed until now and root out that ESOTERIC HISTORY lies in a key millennium. And
quantitatively pages about their so-called "biography" are very insignificant compared to what that Klaha Popo consider "the object of about", ie the components devoted to the dismantling of the legend Mandingo. BOOKS III and IV are devoted. Survey is 235 pages (from page 155 to page 390)! Although more than 153 pages of the legendary tale of Djibril Tamsir Niane was hitherto the benchmark, especially in the middle "Afrocentric"! And the revelations that result are quite confusing, as to arouse the enthusiasm of this site "Afrocentric" which employs Klaha Popo as "critical."
OF THE CYBER-FRAUD
Each author is flattered to see his work be like this. However, there are items which we would willingly, especially when these items veil of anonymity on the cyber space and are intended rather to the promotion of the Site that uses works for writers to show off and buttering his own bread. And it becomes more alarming when these cloths contribute to confuse the readership and amputate the work of his marrow and his breath, substituting another thought and another breath.
Unfortunately this evil that plagues these new circles of "intellectuals" dark saying or wanting to "Afrocentric," inspired by a READ poorly assimilated works of Cheikh Anta Diop (which, itself, does has never claimed that he had exhausted all issues on the African past), use of its work to reach for often obscure and constantly entangled in deplorable ideological contradictions (in flirting with some sects hostile to African independence). And the irony is that Cheikh Anta Diop which is used as a shield, was not an "Afrocentric" (as defined by the site in question gives the concept), since most sources of Cheikh Anta Diop of venaint ... WESTERN. And non-Africans!
For my part, regarding my book on the history Mandingo, who has not mastered the archaic dialects Mandingo (Malinke) and Banman (Bambara) can not venture there. Not even Cheikh Anta Diop, he was still alive. As much as he excelled in the Egyptian-Nubian history, as it was limited to what is history Mandingo itself, particularly because of the obstacle LANGUAGE, but also because Cheikh Anta Diop has also succumbed to MYTH OF WRITING, by despising the time the oral tradition, forgetting that what is called "oral tradition" can often be the remains of a story written (and vice versa). Especially in terms of "Mandingo tradition" whose players come from a culture of writing. Another shocking reality that I reserve the proof for the second tome in which I said some blunders of this eminent scholar that was Cheikh Anta Diop (whom I greatly admire, however, as can be seen in Volume 1) ...
Regarding the alleged "controversy" with the story of Djibril Tamsir Niane, I refer readers to my article entitled''THE TRUTH ABOUT HISTORY MANDINGO: THE CONFESSIONS OF HISTORIANS GRIOTS and their accomplices or ethnologists.'' There is particular issue Djibril Tamsir Niane who never claimed he wrote the "History", but the caption. The last news I heard that it was walking backwards, correcting some outrageous (especially on "Soumahoro"), AFTER READING YOUR WORK. This comes a little TOO LATE. He should have done earlier avoid each other well and misfortunes. Because you can not lie with impunity on these "BIG DEAD-La", even under the guise of legend. Even knowing that neither "Soumahoro" or "Sonjata" or "Toura Makan" or "Fakoli" does not mean anyone in particular, but titles, functions, historical situations, etc..
no impostor can allow himself to "get their foot back to the front foot" in Mandingo, without paying the price. Encourage the cadet on the Elder! Oppose the Order of the SON (Lions Raiders keta) than fathers (submissions-HORO, DIARA-SO DYO Mande, KAMA-RA, RE-KONA, KAN-TIE, TIE-KONA, KONDEN, Fandène, NBFA, etc..)!
Mountaga Fane Kantéka
lawyer, writer and poet and investigative journalist
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